CASE PREFABBRICATE AD “IMPATTO ZERO”

INDIPENDENZA ENERGETICA ED ASSENZA DI EMISSIONI.
UN’UTOPIA O SEMPLICEMENTE LA CASA DEL FUTURO? MOLTO PIU’ CONCRETAMENTE UN OBIETTIVO A CUI TENDERE, UTILIZZANDO LE TECNOLOGIE COSTRUTTIVE ED IMPIANTISTICHE PRESENTI SUL MERCATO.

Vorrei informazioni riguardo la possibilità di inserire sia pannelli solari che un sistema di recupero biomasse per la casa che vorrei.
Le chiedo anche se ci siano altri accorgimenti a cui non ho pensato per rendere la casa il più energeticamente autonoma, a impatto ed emissioni zero, e totalmente sostenibile.

Le case prefabbricate rappresentano una soluzione semplice e collaudata, innovativa e tradizionale.
Il legno è un materiale antico che da sempre accompagna l’uomo nella costruzione di edifici, dalle prime capanne sino alle ardite strutture in lamellare.
Le case prefabbricate a basso consumo non sono una novità degli ultimi anni, ma vengono da lontano, in quanto le prime costruzioni di questo genere risalgono agli anni settanta e da allora ne vengono realizzate in gran numero in tutta Europa. Edifici sempre più performanti ed energeticamente isolati.
Bassi consumi equivalgono a basse emissioni di CO2 in atmosfera.
La costruzione delle case prefabbricate in legno impiega poca energia nel processo produttivo, limitando, anche in questo caso, il carico inquinante sull’ambiente.
Le tematiche ambientali da qualche anno a questa parte vengono recepite a livello normativo, una tendenza che non potrà che accentuarsi, a beneficio del nostro fragile ecosistema.
Già oggi si può fare molto. L’acquisto di una casa prefabbricata è un piccolo gesto di rispetto verso l’ambiente e può essere valorizzato scegliendo un’impiantistica basata sull’utilizzo di fonti rinnovabili, limitando il ricorso alle fonti di energia fossili come il gas o l’elettricità derivata dalla combustione di carbone e petrolio. Questi impianti, se correttamente dimensionati, possono rivelarsi un valido investimento, con tempi di ritorno interessanti.
Le pompe di calore abbinate a pannelli fotovoltaici possono renderci indipendenti dalla rete del gas metano e minimizzare i consumi elettrici richiesti al gestore.
Un impianto di ventilazione meccanica controllata a recupero del calore, ad alta efficienza, limita al massimo le dispersioni ed il conseguente fabbisogno di calore.
Camini, caldaie e stufe a biomasse rappresentano un’eccellente soluzione per scaldare impiegando legna e derivati vegetali, rinnovabili e sostenibili, con bassi costi di acquisto e di esercizio.
La richiesta di energia non è chiaramente costante durante l’anno. Ci saranno periodi di picco invernali, coincidenti con il mesi più freddi, in cui gli impianti non potranno fare fronte alla richiesta di energia termica, se non sovradimensionandoli. Una scelta personalmente non del tutto felice, che porterà ad un aggravio dei costi non giustificato.
Quale sia la scelta fatta, una progettazione integrata degli impianti delle case prefabbricate deve mirare ad un punto ottimale tra costi di acquisto ed installazione e quelli di esercizio.
L’indipendenza energetica, al momento attuale, presenta alti costi, non giustificabili economicamente in alcun modo.
E’ certamente possibile staccarsi dalle reti pubbliche, ma ci si dovrà dotare di accumulatori di energia, come le batterie al litio per il fotovoltaico, davvero costose e poco efficienti. Conviene sicuramente approfittare (finchè sono previsti) degli incentivi governativi in vigore per l’energia elettrica prodotta con i piccoli impianti solari, piuttosto che rincorrere l’utopia della indipendenza assoluta.
In taluni casi, come per edifici realizzati in zone isolate o per interventi di grandi dimensioni (che possono ripartire i costi, ammortizzando le spese fisse), può risultare al contrario una scelta conveniente o persino obbligata.
Per le case prefabbricate, la poca energia richiesta, può essere prodotta anche in modo tradizionale, limitando la spesa complessiva.
L’ambiente ringrazierà comunque.

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Antique Chinese Living Room Furniture

Decorating With Chinese Antique Living Room Furniture






A pair of red and green Chinese wedding cabinets found in Belgium fit perfectly into Lina Kanafani's living room alcoves. ¡°Their colours are a source of warmth and add playfulness to the general ambience of the room,¡± she explains. In practical terms, they are used to store the music system, speakers, CDs, books and magazines. For Kanafani, aesthetics is more important than value: ¡°They may not be ¡®important' pieces as far as Chinese furniture is concerned, but they have perfectly achieved the effect I was after.¡±





In a corner of the living room is a Japanese screen which dates from the late 16 th century and depicts the Imperial horse stables. The carpet is late 17 th century Chinese and the pair of Huanghuali horseshoe back chairs are part of a set of four 17 th century pieces.









Clean lines, lack of ornamentation and a subtle colour scheme characterize Kai-Yin Lo's living room, where Chinese art is hung on the walls with architectural precsion. A pair of window panels features the persimmon in a four-petal design. ¡°One of the earliest plant motifs used in China, the persimmon dates more than 1,800 years to the Han dynasty,¡± she says. On a Ming side table at the back of the room is a pot filled with 200-year-old fungus called Lingzhi found in Anhui province.







A pair of sofas dressed in pale textured fabrics stand in the center of Kai-Yin Lo's living room, defining the seating area in the flowing, open plan space. Recessed and spot lighting illuminate her extensive collection of Chinese art and furniture. A low platform functions as a coffee table; it was originally one of the earliest types of raised seating in China. This rare piece dates from the 18 th century and is made of nan mu (a variety of cedarwood). It is constructed of three modular sections which can function as a single platform (pictured here), or used separately as smaller seats, stands or low tables. On top is a miniature Ming display table featuring a collection of Buddhist knots of destiny. A silk padded screen, featuring artworks in ink and colour, shields the dining room from the living area. A 3 rd -century Gandhara Buddha from the Indus Valley stands serenely in the entrance hall.





¡°Rocks are treasured by Chinese collectors as objects of art,¡± explains Wu. ¡°They symbolize nature and can be brought inside so one can contemplate nature indoors.¡± This malachite stone from Shilu Mountain is an impressive example.








A classic 16th-century Ming lute table stands against the far wall; it would have been an important part of the scholar's accoutrements of the time. Calligraphy is regarded as the highest form of art in China and Wu Bruce has a spectacular collection. Hanging behind the lute table is a 16 th -17 th -century scroll by Zheng Da Qian which depicts the lone scholar in the mountains. The pair of calligraphy couplets are by early 20 th -century calligrapher Lin San Zhi; they refer to furniture. In the foreground, a dash of contemporary style is added with colourful Iranian rugs. The extremely heavy yellow wax ¡®Lashi' stone symbolizes nature being brought inside.









Floor-to-ceiling glass panels overlooking a central stairway help open up the interior of this four-storey London house. In the living room, things are kept architecturally minimal with white walls, a pale wood floor and spot lighting. The clean-lined approach is maintained with select pieces of pared-down antique furniture. A Ming luohan chuang (couch bed)-which would have originally been used for relaxation, meditation or conversation, often moved onto a terrace or into a garden to enjoy nature from-stands against the rear wall; to the left is a carved candlestand.









In the library, a 19th-century Anatolian kilim hangs on the wall; to the rear is a 17th-century Huanghuali painting table and a 16th-17th-century southern official's armchair. In the foreground, and Elmwood and red lacquer 19th-century ladder rests against the bookcases. The occupants prize the form of the furniture over the media used to create it as the most important feature in their collection.





Living with Ming: in a corner of the master bedroom, a Huanghuali Ming table and a southern official's armchair function as a desk area; above the desk hangs a textile from the Kaitag region of Daghestan, dated to the 18th-century or earlier. Neolithic pots, Japanese 19th-century baskets and a modern pot by Jeff Shapiro fill shelving units on either side. The landscape painting on silk is by Fu Shan (1607-1684 )







Carol Lu elegantly installed classic, clean-lined Ming furniture within a quasi-industrial palette in her light and airy Hong Kong apartment. In the entranceway, the concrete floor is tactile, durable and childproof. A sliding oak door seals off the space that features a burgundy back wall, a spindleback chair and a huge atmospheric canvas by Paris-based artist Zao Wuki.







White walls, a striped cream sofa and beige carpeting form the backdrop to a collection of Chinese antiques in the living room. With a nod to practicality, Chang added a glass top to an old wooden trunk engraved with country scenes. Against the wall stands a pair of Qing dynasty wod and brass doors from Shanxi province; near the sliding doors to the dining room is a 1930s cabinet which demonstrates the mix of Western and Chinese elements characteristic of the time. The glass in the bottom section is original.







In the living room of Brad Davis and Janis Provisor's apartment, a seepskin throw is draped over a pistachio green sofa; a 1940s chair is covered with leopard-skin print fabric and an Isamu Noguchi lamp stands in the corner. Hanging above the brick fireplaceis a watercolour by Janis Provisor; on the mantelpiece is a collection of Italian glassware from the 1950s alongside antique Chinese jars and vases. On the wall hangs a pair of calligraphy scrolls.









In the living room, a rare 18th-century child's horseshoe backed armchair made entirely of bamboo stands next to a 16 th -centruy Ming Kang table covered in woven bamboo and lacquered in red over black. In the foreground is a low table displaying 18th - and 19th-century Tibetan silver bowls. The Tang horse is a fine example in apple green glaze, with its original unglazed saddle.

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Antique Chinese Living Room Furniture

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